Batik (Java: ?????, Javanese pronunciation: Ã, ['ba? e ?] ; English: Ã, ['bat? k] ) is a wax-resistant technique immersion applied to the entire fabric, or fabric made using this technique originated from Indonesia. Batik is made fine by drawing dots and resist lines with a tool called crescent canting (Javanese: ??????, Javanese pronunciation: Ã, < span title = "Representation in Phonetic International Phonetic (IPA)"> [??? anti?] , also spelled tjanting), or by printing resist with a copper stamp called cap (Java : ???, Javanese pronunciation: Ã, [??? ap] , also spelled tjap). The applied wax is resistant to the dye and thereby enables the craftsmen to selectively dye by soaking the fabric in one color, removing the wax with boiling water, and repeating if some color is desired.
Tradition of batik making is found in various countries; Indonesian batik, however, is probably the most famous. Indonesian batik made on the island of Java has a long history of acculturation, with diverse patterns influenced by various cultures, and most developed in terms of patterns, techniques, and quality of workmanship. In October 2009, UNESCO established Indonesian batik as a Work of Oral and Intangible Cultural Heritage.
Video Batik
Etimologi
The word batik comes from Java. It may be derived from the Javanese word amba ('to write') and point ('point'), or it may be derived from Proto-Austronesian prehistoric root * beCÃÆ'k ('for tattoo'). The word was first recorded in English at the EncyclopÃÆ'Â|dia Britannica in 1880, where it was spelled battik . This is evidenced in the archipelago during the Dutch colonial period in various forms: Maps Batik
History
Candles resist fabric dyeing is an ancient art form. It was already in Egypt in the 4th century BC, where it was used to wrap mummies; linen soaked in wax, and scratched using a stylus. In Asia, this technique was practiced in China during the Tang Dynasty (618-907 AD), and in India and Japan during the Nara Period (645-794 AD). In Africa originally done by the Yoruba tribe in Nigeria, Soninke and Wolof in Senegal. But this African version, using cassava starch or rice pasta, or mud as resistance, not beeswax.
Batik art is very developed in Java Island in Indonesia. In Java, all ingredients for the process are readily available - cotton and beeswax and plants from which different vegetable dyes are made. Indonesian Batik precedes a written record: G. P. Rouffaer argues that this technique may have been introduced during the 6th or 7th centuries from India or Sri Lanka. On the other hand, Dutch archaeologist J.L.A. Brandes and archaeologists Indonesia F.A. Sutjipto believes that Indonesian batik is an indigenous tradition, as other areas in Indonesia such as Toraja, Flores, Halmahera, and Papua, which are not directly influenced by Hinduism, have an ancient tradition of batik making.
Rouffaer reported that the pattern of gringsing was known in the 12th century in Kediri, East Java. He concludes that this fine pattern can be made simply by using canting , an etch device that stores a small reservoir of hot wax, and proposes that canting be found in Java. around that time. Detailed clothing carvings worn by Prajnaparamita statues of East Java from around the 13th century show intricate floral patterns in rounded lines, similar to traditional Indonesian hijab motifs or ceplok . The motif allegedly represents the lotus flower, sacred flower in Hindu-Buddhist belief. This evidence suggests that the intricate patterns of batik cloth applied to canting existed in 13th-century Java or even earlier.
In Europe, the technique was described for the first time in the History of Java , published in London in 1817 by Stamford Raffles, who was once the British governor of Bengkulu, Sumatra. In 1873, Dutch merchant Van Rijckevorsel gave the pieces he collected during his trip to Indonesia to the ethnographic museum in Rotterdam. Today Tropenmuseum houses the largest collection of Indonesian batik in the Netherlands. The Dutch and Chinese colonists were active in developing batik, especially coastal batik, in the late colonial era. They introduced a new pattern and the use of cap (copper block stamps) to produce bulk batik. Featured at the Exposition Universelle in Paris in 1900, Indonesian batik impressed the public and the artist.
In the 1920s, Java batik makers migrated to Malaya (now Malaysia) to introduce the use of wax and copper blocks to its east coast.
In Subsaharan Africa, Javanese batik was introduced in the 19th century by Dutch and British merchants. The locals there adapted Javanese batik, making larger motifs with thicker lines and more colors. In the 1970s, batik was introduced to Australia, where original artists at Erna Bella had developed it as their own craft.
Technique
First, the cloth was washed, soaked and beaten with a big hammer. Patterns are drawn in pencil and then redrawn using hot wax, usually made of a mixture of paraffin or beeswax, sometimes mixed with plant resins, which serve as dye-resistant. Candles can be applied with various tools. Instruments such as pens called canting ( Javanese pronunciation: Ã, [t? Anti?] , sometimes spelled with old Dutch orthography tjanting ) is the most common. A tjanting is made from a small copper reservoir with a spout on the wooden handle. The reservoirs retain the obstacles that flow through the spout, creating dots and lines as they move. For larger patterns, a rigid brush can be used. Alternatively, a copper stamp cap called cap ( Javanese pronunciation: Ã, [t? Ap] ; long spelling tjap ) is used to cover large areas more efficiently.
After the cloth is dry, the resistance is removed by boiling or scraping the fabric. The treated area with resist maintains its original color; when the resistance is removed the contrast between the dyed and undyed regions form the pattern. This process is repeated as much as the desired number of colors.
The most traditional type of batik, called batik write (batik tulis), is drawn using only canting . The fabric needs to be drawn on both sides, and dipped into the bath dye three to four times. The entire process can take up to a year; this produces a much better pattern than the batik cap.
Culture
Indonesia
Many Indonesian batik patterns are symbolic. Babies are carried in batik cloth decorated with symbols designed to bring the luck of a child, and certain batik designs are provided for the bride and groom, as well as their families. Some designs are provided for royalties, and are even forbidden by ordinary people. As a result, a person's ranking can be determined by the pattern of batik wear. Further studies into the geometry of symbolism in Indonesian batik show the application of fractal geometry in traditional designs.
Batik clothing plays a central role in certain Javanese rituals, such as a royal batik coronation ceremony being a volcano. In the ceremony naloni mitoni the Javanese, the prospective mother wrapped in seven layers of batik, hoping the goods are good. Batik is also prominent in the ceremony of
In October 2009, UNESCO established Indonesian batik as a Work of Oral and Intangible Cultural Heritage. As part of the recognition, UNESCO insisted that Indonesia preserve its heritage. That day, October 2, 2009 has been declared by the Indonesian government as National Batik Day, as well as when the map of Indonesian batik diversity by Hokky Situngkir was opened to the public for the first time by the Ministry of Research and Technology of Indonesia.
Popularity
The popularity of batik in Indonesia varies. Historically, it was important for the ceremonial costumes and it was worn as part of the kebaya dress, which is worn every day. The use of batik has been recorded in the 12th century, and textiles have been a source of strong identity for Indonesians across religious, racial and cultural boundaries. Believed also motifs that make batik famous.
The Javanese batik industry flourished from the late 1800s to early 1900s, but declined during the Japanese occupation of Indonesia. With the increasing preference of western clothing, the batik industry declined after Indonesia's independence. Batik has been somewhat revived at the turn of the 21st century, through the efforts of Indonesian fashion designers to innovate batik by incorporating new colors, fabrics, and patterns. Batik has become a fashion item for many Indonesians, and can be seen in shirts, dresses, or scarves for casual wear; it is the preferred substitute for a jacket-and-tie at a particular reception. Traditional batik sarongs are still used in many occasions.
After UNESCO's recognition for Indonesian batik on October 2, 2009, the Indonesian government asked Indonesians to wear batik on Friday, and wearing batik every Friday has been encouraged in government offices and private companies ever since. 2 October is also celebrated as National Batik Day in Indonesia. Batik has helped boost the local economy of small businesses, batik sales in Indonesia has reached Rp 3.9 trillion (US $ 436.8 million) in 2010, up from Rp 2.5 trillion in 2006. The value of batik exports, meanwhile, up from $ 14.3 million in 2006 to $ 22.3 million in 2010.
Batik is also popular in neighboring countries in Singapore and Malaysia. It is manufactured in Malaysia with a similar method but not identical to that used in Indonesia. Prior to UNESCO's recognition and after the 2009 Pendet controversy, Indonesia and Malaysia questioned the ownership of batik culture. However, Dr Fiona Kerlogue of the Horniman Museum argues that Malaysian wax textile textiles, made for about a century, are very different traditions from the "very delicate" traditional Indonesian batik produced over the centuries.
Batik is featured in national airline uniforms from three countries, represented by batik worn by Singapore Airlines flight attendants, Garuda Indonesia and Malaysia Airlines. Garuda Indonesia flight attendant uniform is a modern interpretation of the style of Kartini kebaya with motif parang gondosuli .
Terminology
Batik traditionally sold with a length of 2.25 meters is used for long cloth or sarong. It is worn by wrapping it around the hips, or made into a hat known as blangkon. Fabrics can be filled continuously with a single pattern or divided into sections.
Certain patterns are only used in certain parts of the fabric. For example, a row of triangles equal to the legs, forming a motif aquil , as well as a diagonal flower motif called dhlorong , usually used for the head. However, the the merchandise and dhlorong are sometimes found in the body. Other motifs like buketan (bouquet of flowers) and birds are usually used either in the head or body.
- The head is the rectangular part of the cloth worn on the front. The head may be in the center of the cloth, or placed on one or both ends. The board inside the head can be used to determine whether the fabric is long cloth or holster.
- The body is the main part of the fabric, and filled with various patterns. The body can be divided into two patterns and alternating colors called morning-sick ('dawn-dusk'). Bright patterns are displayed throughout the day, while darker patterns are shown at night. The colors back and forth give the impression of two sets of batik.
- Margin is often plain, but patterns like flowers and lace, as well as wavy lines depicted as dragons, are commonly found next to drag .
Type
Because each region has its own traditional pattern, batik is generally distinguished based on their origin areas, such as Solo batik, Pekalongan batik, and Madura batik. Batik from Java can be distinguished by their general patterns and colors into inland batik (batik interior) or coastal batik (coastal batik). Batik that does not fall neatly into one of these two categories is only referenced by their region. Batik design mapping from all places in Indonesia illustrates the similarity and reflects the cultural assimilation in batik design.
Java Batik
Outback Batik
Outback batik or batik batik (batik court Java) is the oldest form of batik tradition known in Java. Outback batik has earthy colors like black, indigo, brown, and sogan (brown-yellow color made from Peltophorum pterocarpum tree), sometimes with a white background, with symbolic patterns that are largely free from outside influences. Certain patterns are provided for royalties, while others are imposed on certain occasions. At a Javanese wedding, for example, the bride uses a special pattern at every stage of the ceremony. Noted batik interior is produced in Solo and Jogjakarta, traditional cities are considered as the center of Javanese culture. Solo Batik usually has a sogan background and is preserved by the Susuhunan and Mangkunegaran Courts. Batik Jogja usually has a white background and is preserved by the Sultanate of Yogyakarta and Pakualaman. Coastal Batik
Coastal batik is produced in some areas in northern Java and Madura. In contrast to inland batik, coastal batik has bright colors and patterns that are inspired by different cultures as a consequence of maritime trade. Repetitive motifs include European wreaths, Chinese phoenix, and Persian peacocks. Noted coastal batik produced in Pekalongan, Cirebon, Lasem, Tuban, and Madura. Pekalongan has the most active batik industry.
The sub-type of coastal batik called Java Hokokai is not associated with a particular area. During the Japanese occupation of Indonesia in early 1940, the batik industry greatly declined due to material shortages. The workshop is funded by the Japanese but is capable of producing very fine batik called Java Hokokai . General motifs include Japanese cherry blossoms, butterflies, and chrysanthemum flowers.
Another coastal batik called three lands (batik three lands) is associated with three areas: Lasem, Pekalongan, and Solo, where batik will be dipped into red, blue, and sogan each. In 1980, batik three countries only produced in one city.
Sundanese Batik
Sunda or Priangan Batik is a term for batik from Priangan area of ​​West Java and Banten. Although batik priangan can use various colors, the preference for tilapia is seen in several variants. A natural indigo dye made from Indigofera is one of the oldest dyes in Java, and its local name tarum has lent its name to the Citarum river and the Tarumanagara kingdom, which shows that ancient West Java ever become the main producer of natural tilapia. Noted batik Priangan produced in Ciamis, Garut, and Tasikmalaya. Other traditions include Batik Kuningan influenced by Batik Cirebon, Banten batik that developed quite independently, and the older tradition of batik Baduy.
Batik Banten uses bright pastel colors and represents the lost art awakening from the Sultanate of Banten, rediscovered through archaeological work during 2002-2004. Twelve motifs from locations such as Surosowan and several other places have been identified.
Batik Baduy only use the color of indigo in shades ranging from bluish black to dark blue. It is traditionally used as a iket, a Sundanese-like head that resembles the Balinese, by the Outer Baduy from Lebak Regency, Banten.
Batik Sumatra
The trade relations between the Malay Kingdom in Jambi and the coastal cities of Java have evolved since the 13th century. Therefore, coastal batik from north java might affect Jambi. In 1875, Hajj Mahibat of Central Java revived the batik industry which declined in Jambi. Mudung Laut Village in Pelayangan district is known for producing Jambi batik. Batik Jambi, as well as Javanese batik, affect batik Malaysia.
Minangkabau people also produce batik called batiak tanah liek (batik clay), which uses clay as a dye for fabrics. The fabric is immersed in clay for more than 1 day and then designed with animal and floral motifs. Batik from Bengkulu, a town on the west coast of Sumatra, is called Batik Besurek , which literature means "batik with letters" when they draw inspiration from Arabic calligraphy.
Balinese Batik
The making of batik in Bali Island is relatively new, but the industry is growing rapidly. Many patterns are inspired by local design, which is favored by local and domestic Balinese tourists. The objects of nature such as hibiscus and hibiscus flowers, birds or fish, and daily activities such as Balinese dancers and the procession or religious and mythological creatures such as barong , kala and winged lions are common. Modern batik artists express themselves freely in various subjects.
Contemporary batik is not limited to traditional clothes or rituals in Bali. Some designers promote Balinese batik as an elegant fabric that can be used to make leather or formal fabrics. Using high-grade batik, such as batik, can show social status.
Malaysia
Batik is mentioned in the 17th Malay Century. The legend occurred when Admiral Hang Nadim was ordered by King Malacca, Sultan Mahmud, to sail to India to buy 140 pieces of litter cloth (batik) with 40 types of flowers depicted on each. Unable to find who meets the requirements described to him, he makes his own. On his return, the ship sank unfortunately and he only managed to bring four pieces, getting displeased from the Sultan.
The method of making Malaysian batik is different from Indonesian Javanese batik, a larger and simpler pattern with only occasional use of canting to create intricate patterns. It relies heavily on painting the brush to apply color to the fabric. The color also tends to be lighter and more vibrant than colored Javanese batik. The most popular motifs are leaves and flowers. Malaysian batik often displays plants and flowers to avoid the interpretation of human and animal images as idolatry, in accordance with local Islamic doctrine. However, the butterfly theme is a general exception.
India
Indians are known to use the method of rejecting the printing design on cotton, which can be traced back 2000 years. Initially, candles and even rice starch are used to print on cloth. Until now, batik is made only for specially designed clothing and clothing, but modern batik is used in many ways, such as murals, wall hangings, paintings, household linen, and scarves, with a livelier and lighter shade. The making of contemporary batik in India is also done by Deaf women in Delhi, these women are fluent in Indian and also work in other vocational programs.
Sri Lanka
During the last century, batik making in Sri Lanka has become established. The Sri Lankan batik industry is a small-scale industry that can use individual design talents and mainly deal with foreign customers for profit. Now the most visible of the island craft with galleries and factories, large and small, popping up in many tourist areas. Rows of small kiosk selling batik can be found along Galle Road Hikkaduwa line. Mahawewa, on the other hand, is famous for its batik factories.
China
Batik is done by ethnic people in South-West China. The Miao, Bouyei and Gejia people use the dye method for their traditional costumes. Traditional costumes consist of decorative fabrics, which they achieve with weaving patterns and candles. Almost all of Miao adorned flax and cotton by applying hot wax and dipping the cloth into indigo dye. The fabric is then used for skirts, panels in jackets, aprons and baby carriages. Like the Javanese, their traditional pattern also contains symbolism, patterns including dragons, phoenixes, and flowers.
Africa
In Africa, where batik was originally imported by Dutch merchants from Indonesia (later Dutch East Indies), pasta made of starch or mud was used as a resistance, not a candle. The most developed dye-resistant skills can be found in Nigeria where Yoruba makes adire fabrics. Two resist methods are used: eleo adire which involves bonded and stitched designs and eleko eling using starch paste. Pasta is most often made from cassava starch, rice, and other ingredients boiled together to produce a smooth thick paste. Yoruba from West Africa uses cassava paste as a resistance while Soninke and Wolof people in Senegal use rice paste. The Bamana people in Mali use mud as a resistance.
Gallery
Indonesian Batik
Batik processing
People wear batik
See also
- Indonesian national costume
- Thetis Blacker, British batik artist
- Balinese Textiles
- Tie
- Madiba shirt
- Malaysian Batik
- Sarong
- Songket
- Bagh Print
- Folk costume
References
Source
- Doellah, H.Santosa. (2003). Batik: Impact of Time and Environment , Solo: Danar Hadi. ISBN 979-97173-1-0
- Elliott, Inger McCabe. (1984) Batik: the fabled fabric of Java , Brian BrakeÃ,; contributions, Paramita Abdurachman, Susan Blum, Iwan Tirta; design, Kiyoshi Kanai. New York: Clarkson N. Potter Inc., ISBNÃ, 0-517-55155-1
- Fraser-Lu, Sylvia. (1986) Batik Indonesia: process, pattern, and place Singapore: Oxford University Press. ISBN: 0-19-582661-2
- Gillow, John; Dawson, Barry. (1995) Indonesian Traditional Textiles . Thames and Hudson. ISBN: 0-500-27820-2
- QuaChee & amp; eM.K. (2005) Batik Inspiration: Displaying Top Batik Designers . ISBNÃ, 981-05-4447-2
- Raffles, Sir Thomas Stamford. (1817) Java History , Black, Parbury & amp; Allen, London.
- Sumarsono, Hartono; Ishwara, Helen; Yahya, L.R. Supriyapto; Moeis, Xenia (2013). The King's Thread: Summarizing the Beauty of Coastal Batik . Jakarta: Popular Library of Gramedia. ISBN: 978-979-9106-01-8.
- Tirta, Iwan; Steen, Gareth L.; Urso, Deborah M.; Alisjahbana, Mario. (1996) "Batik: light and nuance game, Volume 1", Indonesia: Favorite Style. ISBN 979-515-313-7, ISBN 978-979-515-313-9
- Nadia Nava, Il batik - Ulissedizioni - 1991 ISBNÃ, 88-414-1016-7
External links
- UNESCO: Indonesian Batik, Intangible Cultural Heritage Heritage Representative - 2009
- Video tutorial on African batik
- Indonesia's early textiles from three island cultures: Sumba, Toraja, Lampung, exhibition catalog from the Metropolitan Museum of Art Museum
- Batik, Kain Traditional Indonesia an article about batik from Living in Indonesia
Source of the article : Wikipedia
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